Review time... :razz:

I was too busy searching for Sith info last night to get my box office case going, and didn't get to watch it. I'm sorry , Libs. I'll watch it now if you want, which would mean a review by 8-ish or so?

Was your silence telling me to go watch it now and get a review up by 8?

Heh. Sure, why not.

I could give a lot of reasons for why not :razz: it'll allow you to get rid of me for a few hours, so I'll watch it now. :shv:


Didn't really want to now, but I'm a wimp.

If anything, I hope this mini review serves as a sleep inducer if our awesomest member ever has trouble sleeping again.

Moulin Rouge surprised me, as I wasn't expecting so many classic songs to be used into it. The Beatles, Kiss, Elton John, Paul McCartney, Madonna, Nirvanna, David Bowie, and Joe Cocker were all represented, and I think I had more fun spotting the famous songs than I did anything else.

It's the story of Christian, a struggling writer, who meets a group of performers who convince him to take his skills to Paris' underground theater community at the Moulin Rouge club. He heads off to Paris with them, and while there, he meets the queen of the community, and he falls in love with her. It doesn't take long for him to sing his way into her heart, and she falls for him, too, but the club's owner has made a deal with a rich Duke, that if he helps support the club financially, he can have Satine (Kidman) as his own. As a courtesan in 1900 France, she would have been more than willing, but didn't expect to meet Christian and fall in love, and that complicates things. Saline is also dying (tyberculosis
, I think), which nobody but a few know at the time, and that makes things more complicated.

They try to hide their affair from the Duke and all others behind the guise of a lavish production that Christian is writing for the club, in which the story parallels their very own. The courtesan has a choice to make between the rich and powerful man and the poor romantic, and Christian writes an ending that fits his own desires, but the Duke objects to the ending, and demands it be changed when it becomes obvious that there is more to the story that meets the eye. The powerful Duke also demands that Satine choose him, or he'll kill Christian, so without given much choice, she does, and Christian is cast out, and ordered to never return. Of course, he doesn't listen.

During the opening night of the production, he infiltrates the club, and then infiltrates the show itself, and once again sings his way into her heart, and even the club owner is moved by their love enough to foil the Dukes anger and revenge. Unfortunately, even though everything is setup for a happy ending, Satine collapses in Christian's arms, and finally succumbs to her illness, and dies in his arms. It's better to have loved and lost, than not to have loved at all. At least, that's the way Christian reflects on it.

I thought the performances were all good, as was the singing, though I don't think Ewan and Nicole will ever be considered at the professional level of a Catherine Zeta-Jones as a singer. The story moves along well, and the herky-jerky editing does become something that quits distracting after about 20 minutes of it. I got used to it. Enjoyable musical. I rate it just slightly below Chicago.

B

A+

I love it to death. Amazing movie. Everything is brilliant with it. Classic.

B+


One doesn't need to be a fan of musicals to appreciate this movie. I am not and yet this movie left me amazed, simply on the artistic level. This movie revived the musical genre in the new millenium. The Lord of the Rings: The Fellowship of the Ring was a great movie, without a doubt and so was A Beatiful Mind, but it was Moulin Rouge that deserved the Best Picture award back in 2001. Not only it is a musical to revive the genre, but it is also most likely the most ingeniously original flick of its genre as well. The way it mixes known song titles together ins imply ingenious. Who'd have thought that "Lady Marmelade" and "Smells like Teen Spirit" can ever mix so well? Much like Maverikk, I spent quite a lot of time spotting the different songs in this movie when I first saw it.

But it's not even that what makes this movie so great (but it adds well to the mix). The visual style of this movie is simply astonishing. From the very first minutes you find yourself captivated by it and sucked right into the movie. It leaves you breathless. Great performances and decent singing by Nicole Kidman and Ewan McGregor round up the great experience that is a required viewing for each self-respecting movie fan. I haven't seen Monster's Ball, but if Kidman won the Best Actress Oscar, I'd have been very happy. I certainly didn't expect to like the movie as much as I did the first time I saw it. My only few gripes with it, is that it loses its visual impact upon multiple viewings and the fact that the movie is somewhat clichéd (but I think it was supposed to be) and a bit predictable at times. But in the end, that didn't bother me much. I still slighty prefer Chicago over this one for the pure fun factor Chicago was, but Moulin Rouge is a superior movie, I'd say.

One of my all time favorite movies. Absolutely amazing in every sense of the word. Fantastic acting, great songs and music, wonderful set design and cinematography (this is one of the most beautifully filmed movies I have ever seen), and insanely great editing all combine to form an unbearably emotional conclusion. Very funny at times. Like Libs, this film gave me a headache when I watched it for the first time (because of the ADD editing) but after the first viewing, I realized this film is simply a classic.

A+

"A rare picture that gets you intoxicated on the possibilities of movies."
-- Michael Wilmington, CHICAGO TRIBUNE

"A kaleidoscope of color and choreography -- a glittering pop opera... rich in detail and imagination."
-- Brent Simon, ENTERTAINMENT TODAY

"A sumptuous, spectacular, laugh-inducing, tear-jerking oasis of unbridled spirit and emotion."
-- Brian Webster, APOLLO GUIDE

"Moulin Rouge may not be easily classifiable, but it is daring and artistic. It is also one of the best pictures of the year."
-- Mike McGranaghan, AISLE SEAT

"Nicole Kidman is absolutely stunning in this film . . . MacGregor is equally charismatic and heartbreaking . . . has the rare ability to stir every emotion in the human soul"
-- Brian Mckay, EFILMCRITIC.COM

"The film dances; the heart sings."
-- Richard Corliss, TIME MAGAZINE

"A dazzling, electrifying event that transcends the screen."
-- Paul Clinton, CNN

"A jaw-dropping tour de force of visual imagination."
-- Jack Garner, ROCHESTER DEMOCRAT AND CHRONICLE


Movie musicals have always been a tough sell with audiences. Once popular back in the days of Rodger & Hammerstein, the genre took a downward spiral in recent years - with animated Disney movies accounting for most of the percentage that made it to theaters. While shows thrived on Broadway, it seemed as if audiences simply did not respond to musicals as they once did, ignoring the fantastical elements in search of something more realistic. But soon a project from an innovative director would change all that, bringing musicals back into the spotlight with an innovative and fresh take. That film was Moulin Rouge, the movie that singlehandedly revitalized a dying genre and broke boundaries to become an instant classic. It is easy to see why audiences responded to the film upon its release. It is easily one of the best films to ever grace the silver screen.

Set against the backdrop of Montmarte in 1900, Moulin Rouge tells the story of Christian (Ewan McGregor), an ambitious poet who defies his father's wishes and travels to a Bohemian village to live in poverty. The Bohemians are a colorful bunch, obsessed with the ideals of freedom, beauty, truth and above all things love. After meeting his eccentric neighbor Toulouse Lautrec (John Leguizamo) and his band of followers, Christian soon finds himself writing a play for the Moulin Rouge, a nearby nightclub that is famous for its stunning performers.

Enter Satine (Nicole Kidman), an ambitious courtesan with dreams of becoming an actress. Known as the star of the Moulin Rouge and the "sparkling diamond," she takes orders from the wild but sympathetic Harold Zidler (Jim Broadbent), the club's vibrant owner. When Satine is told that the Duke (Richard Roxburgh) is intending to invest in the club, she must woo him and get him to provide financial backing for the play. But through a case of mistaken identities, she meets Christian. At first, the two deny their passion for one another but soon it becomes evident. Now they must keep their love a secret behind the scenes of the play while Satine continues to woo the Duke. But when a deadly secret is revealed and the Duke discovers their secret love affair, the two must decide whether their love is worth fighting for.

The acting here is spectacular all around. Nicole Kidman gives the best performance of her career here as Satine, spectacular from first frame to last. She deserved to win the coveted Best Actress trophy in 2001, for this is a truly breathtaking portrayl. Kidman really delves deep into the role, giving it so much depth and emotion that it is hard not to fall in love with the sympathetic courtesan. She tackles every scene head on and makes it feel very believable. Satine is a performer who must feign happiness and strength, but inside she is distressed and unsure of herself. Kidman allows us to see the multiple layers of her character and gives the role her all. She also has a phenomenal singing voice that carries the film through some of its best musical sequences. Ewan McGregor is equally great, easily deserving more acclaim for his subtle yet powerful potrayl of Christian. He successfully shows his character's initial naivite and growth throughout the film, and manages to give the role a lot of soul and emotion. His singing voice is also excellent, with great range and tone. McGregor and Kidman are both charismatic leads and have excellent chemistry together.

The supporting performances are commendable as well. Jim Broadbent is great as Harold Zidler, showing how eccentric he appears onstage but how subtle and caring he is offstage. He comes off as likable and believable throughout, but is also spot-on when it comes to the comedic moments in the tale. The transition that his character makes fits well with the rest of the story. John Leguizamo provides much of the humor as Toulouse-Lautrec, but manages to get the role another layer of emotion as well. He steals many scenes and is very memorable in the role. Richard Roxburgh is excellent in an understated performance as the Duke. He manages to make the character almost comedic at first, but as jealousy takes over his portrayl goes from humorous to terrifying. He is a great villain for the piece and it is fascinating to watch his performance.

Baz Luhrmann directs the film and also co-writes the screenplay along with Craig Pearce. The work he has done here is simply jaw-dropping, confirming his status as one of the best directors working today. Everything in the film is a feast for the eyes, with every frame filled with color and zest. He does a great job editing the film, with fast and choppy shots at the beginning to show the vibrancy of the club before switching to subtler and longer shots for the more intimate moments. The Academy-Award winning set design here is phenomenal, with every piece truly a wonder to behold. Whether it is the spinning windmill of the Moulin Rouge or the 60-foot elephant house, each set adds a lot to the mood of the film. Luhrmann also manages to create an almost storybook-like view of France, perfectly displaying the Bohemian lifestyle in a remarkable way. The costume design here is also superb. Each actor is given many colorful garments that say a lot about who their character really is. Luhrmann seems determined to make this feel like a modern twist on a classic musical, obvious by his use of opening and closing curtains at the film's beginning and end. This technique is great as well and really allows you to enter this stunning world that he has created. This is brilliant work from a brilliant and creative mind.

Stunning choreography is also on display here thanks to the work of John O'Connell. A frequent collaborator with Luhrmann, O'Connell gives the sequences at the Moulin Rouge a lot of energy and keeps them very fun and fast-paced. The climatic performance at the end of the film is also amazing, with a lot of Indian style incorporated into each step. His remarkable talent is best shown in one of the film's showstopping numbers, "El Tango De Roxanne," where he creates a brilliant but haunting tango number that is sure to keep the eyes of audiences everywhere glued to the screen.

The music here is one of the most important aspects, and it adds so much to the film's storytelling technique. Instead of following the rules set by traditional musicals, Moulin Rouge options many hit songs from various decades and puts them into the storyline - with characters bursting into song continuously throughout the film. This technique may sound strange at first, but it is pulled off brilliantly. Each song is used to perfection, fitting in perfect unison with what is occuring onscreen. Because of this, even though characters belt out tunes such as "Your Song" or "Like A Virgin," it feels very original and fresh. Each actor brings a lot to the music and delivers powerful vocal performances. However, the best song on display is a ballad called "Come What May." The song, the only original piece of music in the film, is the best piece of music ever written for a film - a sweeping romantic tune that is truly unforgettable. The musical score by Craig Armstrong compliments each song nicely, but also gives emotional backing to many other scenes. The end credit piece, entitled "Bolero," is some of Armstrong's best work to date.

Overall, this is a film that is truly perfect in every single way - a flawless endeavor put together with much time and care from everyone involved. Luhrmann delivers some of the best directorial work ever and transports you to a magical world where anything can happen. Fantastic performances are aplenty here, especially from Nicole Kidman and Ewan McGregor, and the music on display is not to be missed. The film offers something for everyone - it is comedic, exciting, dramatic and ultimately very moving. It is hard not to fall in love with this truly breathtaking wonder, not only the best film of 2001 but also one of the very best movies ever made. It's a truly amazing experience reminds us why we love movies in the first place. Pay a visit to the Moulin Rouge and become a part of the phenomenon.

10/10 (A+)

Simply, this is a superb film and in my opinion, one of the greatest muscials ever made.

A

I forgot I rated this 10 out of 5.

For those that are keeping track/infuriated/bewildered by my rating system - this is my second highest rated film on the WOKJ...

What is your number 1?

I'm about to watch this soon, I think. I'm very curious about it. Anyway, just bumping this so I don't have to go looking for it later.

Thought I would bump this seeing as how I have convinced Gulli to give it a shot. I've been obsessed with Moulin Rouge! lately.

I still think this is one of the greatest cinematic achievements of the 21st Century.

A movie set in 1900 that incorporates pop culture references from almost the entirety of the twentieth century, throws it in a blender and ends up telling a story not only about love but the death of love. A simple but brilliant story within a story that sells itself so well that it will tell you what's going to happen at every single turn... but you still fall for it.

Moulin Rouge! stands out as one of the most daring movies major motion pictures I've ever seen. Years ahead of its time. It revived a genre, but still eclipses everything that came after with it's spirit and daring.

dolce was misguided about the dancing - actually, the choreography here was AMAZING. anyone with the 2-disc DVD that has watched the extended dance scenes can confirm (hello, the tango? amazing) that there is plenty of talent to be seen here.

love this movie. watched it yesterday with the best friend - my going away for college treat.

Yeah, I really didn't get her comment about the dancing either. The Can-Can scene does have choreography but it was edited to reflect the energy of the piece.

But Roxanne or the Hindi Sad Diamonds sections?

god yes - watch the extended scenes without the effects - lily (i think that is the character's name...) does some amazing, amazing stuff while (ahem) mounted on a guy during the hindi routine.

it's quite amazing.

This is still my favorite musical ever, and easily one of the best films ever made as well. Anyone who hasn't seen it is missing out on true cinematic brilliance.

Fabulous stuff, the manner in which modern music is worked into every scene is flawless.

Best Song? Roxanne by a hair, they are all on the mark thou even Lady Marmalade which is one of the main reasons I avoided watching this film till now but it turned out to be horribly mis-representative of the film.

The first 15-20 minutes is colourised chaos, as if it escaped from some Monty Python jam session. I loved the bedroom scene with Ewan and Nicole and everything attached to it. Situational Comedy at its finest.

The shift into a more serious tone was a surprise but again it worked. I do wonder how this film ever got the funding money though. I mean its not a conventional on the rails type of film. It may be a Musical but it transcends genre's in many ways.

I still felt a lump in my throat when Nicole died even know we knew it was coming . My soft side hoped for a bolted on upbeat ending.

Glad Roo persuaded me to watch this, it's definetly in the top 10 for the decade.

A+

Well it's been sitting at #5 on my all time list for a bit, but lately I've been wanting to move it up... maybe past Garden State and Usual Suspects into the top 3. There aren't many movies finer than this

This is a favorite of mine.

Great performances, especially Ewan's 'Your Song', thinking about it just gave me chills.

A

Generally speaking, I don't like musicals. Mostly because of the songs. The two main exceptions are Singin' in the Rain and Grease, both of which are incredibly fun with very catchy songs. For the most part, though, I can't stand the genre, especially the recent flux of them of which this film is the catalyst. But, after hearing all the raves for this one, I decided to give it a go. It wasn't my type of movie, and I loved it.

The interesting thing is, if this film hadn't been a musical, I doubt I would have liked it as much. Sure, the direction is innovative and the acting is impressive, but it's the numerous medleys of contemporary songs that really made this for me. Going in, I was under the impression that this was going to be like every other musical - songs written directly for it. Little did I know that David Bowie, The Police, Queen, and even Nirvana were all represented in various shapes and forms. I absolutely loved the way in which a vast variety of songs were covered, interpreted, and woven together to create instantly memorable tunes. My favourite? Definitely "El Tango de Roxanne", but I enjoyed everything else as well.

Of course, that's not the only highlight of the film. The incredible visual and directing style is unlike anything I've seen in a film of this sort before. In fact, it's really unmatched in cinema in general. The acting is very good, as the stars manage to create three-dimensional characters while also having great singing voices. The story is a brilliant mishmash of doomed romance, slapstick comedy, and even historical drama. The slapstick routine at the beginning crackles with terrific comic energy, and the whole film is incredibly vivid and alive.

I have to say this is one of the biggest surprises for me as a moviegoer. A musical romance, two of my least favourite genres, that produced a hit song which I loathe, and I ended up loving the film. Go figure.